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-WEITZ.: Yeah, yeah.
LAMBERT.: It's great the way her hair and
makeup transforms throughout the movie.
WEITZ.: Yeah, very nice makeup by Robin
Mathews, very nice hair by Thom MacIntyre.
Yeah, and also I think the way
that Tish Monaghan designed her clothing
at this point,
she's really not bothering
to put herself together,
and a nice 'stache by Billy,
still there, the 'stache remains.
LAMBERT.: The 'tache always remains.
Muse, the music of a liar.
WEITZ.: The music of a liar?
LAMBERT.: Yeah, when someone lies,
Muse always plays in the background.
That's the rule.
JESSlCA: l don't know why you want to
sit through...
WEITZ.: I don't know what that means,
but I'll go with it.
Okay, so they've seen a zombie movie.
We cleared this one title
as the one zombie movie title
that's never been used,
and, of course,
it refers back to the possibility,
or Bella's hope, that someday
that Edward would come back.
-And actually...
-LAMBERT.: This was all...
Sorry, this was all ad-libbing
from Anna Kendrick, wasn't it?
WEITZ.: It was, except that I told her
to do the thing where her cousin has leprosy.
I take full credit for that.
LAMBERT.: Well, there were lots of different
versions of this, I remember.
She gave lots of different things.
WEITZ.: They're quite funny.
Now we're flashing back
to the frat boys in Twilight.
LAMBERT.: This was the first sequence I cut
because I could cut it
before any dailies came in from the shoot.
WEITZ.: Of course, there you go.
And here's our first view of Edward.
Controversially, we used visuals
of Edward as well as just the aural,
A-U-R-A-L, hallucinations
that Bella experiences.
I thought it was a worthwhile
use of the power of film
and enough Edward
without being too much.
Well, they seem great. Can we go?
WEITZ.: I think that that's a very funny
line reading by Anna there.
CHET: Hey, girlie!
WEITZ.: You may have noticed that Port
Angeles has become a larger city recently
and also a bit more
of a post-industrial town.
It was a charming town in Twilight,
but it's really seen better days now.
LAMBERT.: This is like
the dark end of Port Angeles.
The bit you don't wanna hang out in.
WEITZ.: Yeah, right near the movie theater.
LAMBERT.: There's also a completely
empty street just around the corner.
l'm sorry, l thought you
were somebody else.
No, that's cool.
l'll be whoever you want me to be, honey.
So, what do you say?
You promised me, nothing reckless.
You promised it would be
as if you never existed.
-You lied.
-You say something, babe?
You know what? Never mind.
Stop! Stop, stop, stop!
WEITZ.: Anyway, all that stuff
that we just saw, of course,
was using CGI and modulating it
as much as we could
to give Bella the notion
that she needed to put herself in danger,
which leads her to Jacob
via the bikes, basically.
l was about to end up in an FBl
interview room like some lame TV show.
God, that was such a rush.
So you're an adrenaline junkie now?
That's cool. You can go bungee jumping.
You don't get on the back
of some random loser's motorcycle.
BELLA.: Alice, I saw him.
Maybe I'm crazy now. I guess that's okay.
WEITZ.: So here she comes to Jacob's house,
which we now see for the first time,
this lovely barn, which was green,
which we repainted red
to be like in the book, and we put
a lot of Quileute-type fishing gear around it
even though this was once
a goat pasture, actually.
WEITZ.: We moved away all the goats
and replaced it with actors.
LAMBERT.: And Bella's house
was next to a turkey abattoir, as well.
WEITZ.: Yes, abattoir being a slaughterhouse,
by the way, for the non-British world.
Taylor hates this wig,
and in a way, I can't blame him,
because I suppose it's kind of like,
you know, being Chewbacca.
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